Rolling Stone's Scores

For 4,667 reviews, this publication has graded:
  • 33% higher than the average critic
  • 3% same as the average critic
  • 64% lower than the average critic
On average, this publication grades 6.9 points lower than other critics. (0-100 point scale)
Average Music review score: 65
Highest review score: 100 25
Lowest review score: 0 Scream
Score distribution:
4667 music reviews
    • 70 Metascore
    • 80 Critic Score
    A near-perfect balance of gutter grime and high-art aspiration, the Rick Rubin-produced By the Way continues the Peppers' slow-motion makeover.
    • 85 Metascore
    • 80 Critic Score
    Despite the anger and bitterness, Hail to the Thief is more musically inviting than Radiohead's last two outings.
    • 77 Metascore
    • 80 Critic Score
    A Mark is the first time he's let the musical intensity match the lyrics.
    • 89 Metascore
    • 80 Critic Score
    A luxuriant union of black-ice electronics and chamber-pop instrumentation. [14 Oct 2004, p.98]
    • Rolling Stone
    • 71 Metascore
    • 80 Critic Score
    3D
    The album isn't the romp it might have been had Lopes survived, but 3D solidly embodies black pop in a year in which it has lacked a center.
    • 64 Metascore
    • 80 Critic Score
    Greendale has a tattered, buzzing, demolike sound, rude as any Young has put out.
    • 71 Metascore
    • 80 Critic Score
    Most of the collaborators turn up only as backup vocalists or orchestra members, enabling Lightbody's heartbreaking ballads and sublime baritone to soar.
    • 76 Metascore
    • 80 Critic Score
    Ten New Songs manages to sustain loss's fragile beauty like never before and might just be the Cohen's most exquisite ode yet to the midnight hour.
    • 71 Metascore
    • 80 Critic Score
    Where the album truly shines though is in the way Armstrong gets the most of his vocalists.
    • 80 Metascore
    • 80 Critic Score
    It feels like one big loft party, even when it veers into psychotic, dissonant No Wave by DNA and Mars.
    • 69 Metascore
    • 80 Critic Score
    The album's wanton schizophonia results in such a switched-on pileup of styles that Groove Armada have earned their own rubric -- call it electrocrash, and consider it great.
    • 84 Metascore
    • 80 Critic Score
    The ebb and flow of eighteen concise, contrasting cuts writes a story about Moby's beautifully conflicted interior world while giving the outside planet beats and tunes on which to groove.
    • 87 Metascore
    • 80 Critic Score
    An earthy, moving psychedelia, eleven iridescent-country songs about surviving a blown mind and a broken heart.
    • 90 Metascore
    • 80 Critic Score
    Somehow, the Primals' fury never seems misguided: This is one ball of aggression that hangs together, thanks to the band's smarts and funk.
    • 59 Metascore
    • 80 Critic Score
    Earthy, impressively diverse. [28 Oct 2004, p.101]
    • Rolling Stone
    • 80 Metascore
    • 80 Critic Score
    Let Go is an excellent rainy-afternoon album, full of gentle and melancholic beauty, with echoes of Love and the Beach Boys.
    • 81 Metascore
    • 80 Critic Score
    Sing the Sorrow is not exactly a concept album, but it does have a singleness of dark purpose that builds in momentum as the disc progresses.
    • 93 Metascore
    • 80 Critic Score
    In the 1977-79 half of Name, nearly every song beats the studio version. But the 1980-81 disc is the prize, as the Heads take their lofty concepts to the stage with a ten-piece band. [2 Sep 2004, p.147]
    • Rolling Stone
    • 84 Metascore
    • 80 Critic Score
    Given one last chance to make an impact, Jay-Z has come up with one of the better albums of his career, though perhaps a shade lesser than his very best, Reasonable Doubt and The Blueprint.
    • 71 Metascore
    • 80 Critic Score
    Even the ballads... bristle with force. [28 Oct 2004, p.99]
    • Rolling Stone
    • 83 Metascore
    • 80 Critic Score
    An album so disjointed that it seems to artfully fall apart as it plays.
    • 72 Metascore
    • 80 Critic Score
    Up!
    Up! would be a knockout even if it were limited to its one disc of country music.... But the second, relentlessly kinetic pop disc is a revelation.
    • 90 Metascore
    • 80 Critic Score
    On the evidence of this excellent debut, few people can challenge Skinner right now except himself.
    • 84 Metascore
    • 80 Critic Score
    Yoshimi isn't the end-to-end triumph that was 1999's The Soft Bulletin.... But the production is equally ambitious, with burbling electrobeats underpinning sci-fi orchestrations that sound like the brainchild of Esquivel and the Orb.
    • 68 Metascore
    • 80 Critic Score
    Iowa is not just the first great record of the nu-metal era - it's better than that.
    • 76 Metascore
    • 80 Critic Score
    But if you go back to Up after hearing Reveal, you get the idea that this is the album they were trying to make then, and that this time they got all the way there and found a parking spot. The Eno-style keyboard textures have more room to breathe amid the largely acoustic guitars, with the arcane sound effects intricately woven into the songs.
    • 65 Metascore
    • 80 Critic Score
    This is loud, expansive, unrepentant Metallica.
    • 83 Metascore
    • 80 Critic Score
    Kaplan and Hubley sing their most confessional, intimate lyrics ever, over whispery guitars, brushed percussion, vibes and organ drones. It's a spell of blissful, psychedelic make-out music... these songs are great - heartfelt, rugged, melodically sumptuous enough to keep unfolding after dozens of spins, full of folk-rock flesh and blood.
    • 92 Metascore
    • 80 Critic Score
    If you want a vision of the future of hip-hop and techno, get this record.
    • 71 Metascore
    • 80 Critic Score
    It's one of the best hard-rock CDs you'll hear this year, carrying on the shitkicking tradition of Hank Williams Jr., ZZ Top, Guns n' Roses and Bad Company.